Politics and film have never been so tangled as the industry feels the heat of geopolitics, the threat to democracy, and the transfer of financial models shaped by globalization and digitalization. Against this tense backdrop, even the Nordics' national market share and contribution to the art of filmmaking are the highest in Europe, which is reflected in the hat trick at the Nordic Cannes Film Festival.
Sweden and Norway are competing for Tarik Saleh's "Eagles Landing" and Joachim Trier's "sensual value" and Iceland brings Hlynur Pálmason's "remaining love" to the debut of Cannes Premiere and Finland Lauri-Matti Parppei. Nodding to Nordic films’ key contributions to the film’s past and future, Jon Asp and Mattias Nohrborg were “Bo Bo wideberg” in Classics in Cannes, while Denmark’s Mikkel Bjørn Kehlert (maybe in March”) and Finland’s Helmi Donner (“Lightning Rod Rod”) made Cine fat Cine fat Cinef.
In with typeCEOs of five Nordic film academies share their best Cannes moments and priorities. In the purest Nordic tradition, they also work together to promote framework democracy: the power of film in the film group to be held at the Cannes Film Festival on May 17.
Fischer joined DFI as CEO in August 2024 as Dean's National Film Academy. She is also the founder of CPH:DOX and the director of Dox.
How is your local film industry? What is the biggest challenge in the future?
On the positive side, we have an ambitious culture minister (Jacob Engel Skmitt), an increase in public film funding, and a new generation of filmmakers, writers and producers, rushing to the scene in the most talented ways. On a more challenging side, like many other European countries, production budgets are rising, drama audiences have not yet fully returned to the pre-cycle levels, and the most important declines are children and youth. Content on personal screens is growing at a massive scale, challenging drama and public service broadcasts. This is an evil question because there is no single or simple solution. It requires a strong, innovative commitment and, most importantly, policy and cooperation across sectoral and national borders. This will be one of our main priorities for participating in this major social challenge and we will do this in a strong partnership across all relevant departments. ”
What are your priorities in Cannes?
My top priority in Cannes is to strengthen strong cooperation in Europe. We need to mobilize and strengthen Europe's cultural infrastructure - it is as important as energy supply and defense policies. We need to unite in new ways to protect the values and democracy that define Europe, as well as the general principles of freedom of speech and the length of the arm. On a very specific level, this means meeting with European colleagues, film funds, broadcasters, producers, filmmakers to develop new and efficient action plans.
What is your best time in Cannes?
Perhaps the most memorable year (1998) was my first year at the Cannes Film Festival, where Dogma took over Croisette. Lars von Trier and Thomas Vinterberg compete with two landmark films in European film history, The Idiot and The Celebration. I've never been so proud and energetic and I absolutely think we need this sense of urgency to touch us again. soon!
He had been an independent producer for thirty years before joining the Finnish Film Foundation.
How is your local film industry and what is the biggest challenge in the future?
The state of our industry is somewhat schizophrenia. Finnish films performed well in cinemas. We have a market share of 38% in the first four months of the year and have high international interest. For example, "Niko: Beyond Northern Lights" sold about 3 million tickets worldwide. Meanwhile, finding funds in Finland is more difficult than ever. After several years of budget cuts (€3 million in the 2020-2025 period), our current budget is now over€22 million (US$24.5 million), and luckily, funding for next year still seems to be intact. If we adjust the payments based on inflation, our support budget is still 9 million euros ($10 million) smaller than in 2014.
What are your priorities in Cannes?
As CEO of Finnish Film Foundation, I am delighted to attend endless meetings and meetings throughout my stay. That said, I really wish I could see Finnish minorities co-producing the “Eagle of the Republic”.
What is your best time in Cannes?
In this location, those nights were awarded Finnish films such as Aki Kaurismäki’s “Fallen Leave” (Journal Award 2023) and Juho Kuosmanen’s “Case 6” (Grand Prix 2021).
Erlingsson is working on his current job in 2023. Early positions included director of the London Film School.
How is your local film industry and what is the biggest challenge in the future?
The Icelandic film industry continues to adapt to the lasting influence of streaming, and admissions to recover after Covid are slow. A major challenge is how much local movies and TV series can be absorbed based on the funds and local cinemas, broadcasters and viewers. We need open, honest discussions about sustainable production levels, rather than focusing solely on funding. Potential U.S. tariffs could also have a serious impact on the Icelandic film industry.
What are your priorities in Cannes?
Our main focus at the Cannes Film Festival is to introduce Hlynur Pálmason's "League Love" in the official program, another achievement of Icelandic cinemas. We are also proud to host a democracy and film team with colleagues from the Nordic Film Academy to address how cinemas defend the democratic values of borders. The event brings together political, cultural and civil society voices to discuss the role of film in fostering dialogue and democratic resilience.
What is your best time in Cannes?
One of the most memorable moments at the Cannes Film Festival was the 2015 premiere of Grímur Hákonarson in 2015’s Rams. The film went on to win Untemer termion Roution Prive and received widespread international acclaim. It’s an incredible story and a powerful reminder of how local narratives can resonate universally.
A former journalist and senior employee of MO Egmont Press was appointed NFI CEO in 2019. She also serves as Vice President of the European Film Organizations Association (EFAD)
How is your local film industry and what is the biggest challenge in the future?
We have an internationally recognized voice in novels, documentaries and dramas for a tough time at Norwegian cinemas. The Norwegian Film Academy is committed to maintaining this momentum by refining our funding system to remain relevant, efficient and forward-looking.
Despite the industry’s wealth of talent, financing has become even more challenging due to rising costs and market shifts. Cinema attendance is under pressure, but local films still have a 25% market share, showing a good demand for national stories. Ensuring artistic and financial sustainability is a top priority.
What are your priorities in Cannes?
Joachim Trier's world premiere of "Sensual Value" on May 21 is a proud milestone for Norwegian and European cinemas. We also hosted two key groups: one on the role of film in democracy (May 17), and the other on gender equality and diversity (May 19). These values are profoundly linked to free and dynamic industries. As Vice President of EFAD, I will also chair our conference and the 10th anniversary of Mark Efad, a time to reaffirm the value of European cooperation in uncertain times.
What is your best time in Cannes?
My first Cannes in 2021 as CEO of the Norwegian Film Academy (revoked due to 2020 as a co-sponsored). After lockdown, return to celebrate the cinema with "The Worst Man in the World", "The Innocent" and Renate Reinsve's Best Actress wins. The atmosphere is electric, and while it’s hard to define a breakthrough moment, it certainly feels like a turning point in Norway’s presence on the international film stage.
Croneman was appointed CEO of SFI in 2024 after seven years as director of drama at Swedish PubCaster SVT.
How is your local film industry and what is the biggest challenge in the future?
At the moment, this is not very good because in peak TV shows, the money for movies has dropped significantly. Producers and directors are now working to find ways to revitalize the film industry. Sweden's new government film inquiry is currently in the consulting stage. If the proposal becomes policy, things will be brighter as exciting projects are developing.
What are your priorities in Cannes?
Go to a lot of meetings, talk to other people who are awake at night, and try to figure out where we are going to the cinema. My first priority is to listen to as many smart people as possible and celebrate that we have a fantastic Swedish film for "The Eagles Are Already on" Palme d'Or, and the documentary "Bo Bo Wideberg" about my favorite Swedish filmmaker Bo Widerberg in the Cannes Film Festival classic section.
What is your best time in Cannes?
The best thing is classification. But the second best was in 2022, when we had Tarik Saleh ("Boy from Heaven" ("Boy from Heaven" ("Boy from Heaven") in the main competition ("Triangle from") and both party screenings had a magical vibe. I remember when I saw Andrea Arnold's debut Red Road, I found a filmmaker who I had the most respect in art.